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Countercultural Blake in the Therapoetic Practice of maelstrÖm reEvolution
Franca Bellarsi

This article explores the reception and transformation of William Blake’s countercultural legacy by focusing on the neo-Romantic resurgences within maelstrÖm reEvolution, an experimental performance and arts collective based in Brussels but with heavy transnational affiliations. In relation to the company’s neo-shamanic and therapeutic conception of poiesis, Blake is an inspirational figure amongst a broader family of mentors ranging from Beat Generation writers to Arthur Rimbaud and Alexandro Jodorowsky. The Blake–maelstrÖm connection is here examined for the first time. Blending classical reception studies with a broader interest in the intersections between poiesis and the ‘sacred’, this article approaches countercultural Blake as the archetypal embodiment of the shamanic poet. More specifically, it reflects on how, as the poet of ‘double-edged madness’ and ‘Spiritual Strife’, Blake’s subversion of alienation into ecstasy feeds maelstrÖm’s own ‘therapoetic’ experimentalism and psycho-aesthetic endeavours to restore the lines of communication between the ‘visible’ and the ‘invisible’.

Bulletin of the John Rylands Library
Catherine Maignant

actually also draw some of their inspiration from Buddhism, belong to the same category. Different forms of New Age religiosities have developed in recent years: neo-­paganism, including various forms of neo-­druidry and Celtic spirituality, wicca and other types of witchcraft and neo-­shamanism to mention but a few. The cult of the Great Goddess in different shapes has also grown, and Ireland has become the base for an international religion of the goddess: the Fellowship of Isis. These movements appear under the unsatisfactory label of ‘pantheist’ in recent censuses

in From prosperity to austerity
Abigail Susik

constructed by Jodorowsky. 29 The cast also consumed psychedelic mushrooms, called angelitos , while filming on location at Monte Albán; they appear under their influence in one scene. Although Jodorowsky later criticised ‘trendy neo-shamanism’ and the fetishised idealisation of indigenous culture as an exotic other, The Holy Mountain nevertheless depicted shamanic cupping and mushroom ceremonies, using local non-professional actors as shamans. 30 The surrealist lineages present in The Holy Mountain contributed significantly to the film’s radicalism and interact in

in Surrealism and film after 1945